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 Into the Rhythm
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1984: Rising Tones Cross :A Jazz Film by Ebba Jahn |
Music video |
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 DVD-Album: Rising Tones Cross :A Jazz Film by Ebba Jahn Genre: Free Jazz,Free Improvisation Label: FMP Vormat:DVD Year: 1984, release: 2005 Length: 119 minutes Size: 4.33GB / VOB
In 1984, before Tonic or CB's Lounge or even the Knitting Factory and Rudy Giuliani, New York City was a rough-and-tumble place filled with a wonderful array of musicians in a state of hyper-creativity.
Some of them had come out of the loft scene of the '70s or even earlier and were reconciling all the shades of the avant-garde while others were creating entirely new vocabularies still being solidified today.
German filmmaker Ebba Jahn made "A Jazz Film" that year with interviews, musical performances and fascinating visuals of the city before it became sterilized. For the film's 20th anniversary last year, Jahn put the film onto DVD format, a nostalgia piece for some, a valuable historical document for others.
Many of the musicians featured are still active players: Charles Gayle, William Parker, John Zorn, Jemeel Moondoc, Irene Schweizer, Peter Brötzmann. And unsurprisingly, the film captures many who have departed firmly in their element: Charles Tyler, Don Cherry, Denis Charles, Peter Kowald.
The two main voices of the film are Gayle and Kowald, an American and a German playing improvised music in basements and lofts and in the Sound Unity Festival, the precursor to today's Vision Festival.
The film is romantic. There is a certain appeal and charm to the images of a dirtier, grittier New York. The scene, always the scene, seemed to be more vibrant and the musicians less weighed down. And the music is wonderful, compelling stuff even for people jaded about improvised music. Rising Tones Cross provides some continuity, showing how jazz survived when pop and rap and heavy metal began to fully take over the public consciousness.~ Andrey Henkin, All About Jazz |
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1958: Buster Bailey - All About Memphis |
Music » Jazz » Traditional Jazz |
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 Artist: Buster Bailey Album: All About Memphis Label: Limelight/Felsted Year: 1958, release: 1992 Quality: MP3@320 kbps Size: 87,5 mb (sharebee) Total time: 39:55 AMG rating  Áàñòåð Áåéëè (ðîä. â 1902 ã. â Ìåìôèñå, [óì. 12 àïðåëÿ 1967 ã. â Íüþ-Éîðêå]), ÿâëÿåòñÿ, íàðÿäó ñ Äæèììè Íóíîì, ñàìûì âèðòóîçíûì äæàçîâûì êëàðíåòèñòîì. Áåãëîñòü è ãèáêîñòü åãî ôðàç ïðîñòî íåâåðîÿòíû. Îäíàêî Áåéëè íå òîëüêî âèðòóîç. Óçîðàì åãî èìïðîâèçàöèé ñâîéñòâåííà ðåäêàÿ ìåëîäè÷åñêàÿ ýëåãàíòíîñòü. Buster Bailey was one of the top clarinetists to emerge during the 1920s but he led relatively few sessions throughout his long career. This LP features Bailey with a quartet (along with pianist Red Richards, bassist Gene Ramey and drummer Jimmie Crawford) and, with the horns of trumpeter Herman Autrey, trombonist Vic Dickenson and altoist Hilton Jefferson added, a septet. In addition to W.C. Handy tunes, the other five songs are Bailey originals that mix together swing and the flavor of New Orleans jazz. It's a fine outing for the classic clarinetist. ~ Scott Yanow, All Music Guide |
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1957: Coleman Hawkins and Roy Eldridge - At the Opera House |
Music » Jazz » Mainstream |
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 Artists - Coleman Hawkins, Roy Eldridge Album - At the Opera House Label - Verve Year - 1957 (release - 1994) Format- MP3, 320Kb/s;FLAC Size - 154 MB; 353 MB Total time - 73:46 REPOST with additional FLACK links from Mr.sa_pexi This CD contains the two complete sets by the Coleman Hawkins/Roy Eldridge quintet recorded it the fall of 1957 at the ”Civic Opera House” in Chicago (Stereo) and at the ”Shrine Auditorium” in Los Angeles (mono). The ”Hawk” is still imperial here, and there is also a particularly welcome bonus in the fine form of Roy Eldridge on both concerts - not always the case during his career. Another astonishing surprise is the rhythm section, which consists of three quarters of the ”Modern Jazz Quartet”: John Lewis, Percy Heath and Connie Kay. They swing hard, proving they were versatile enough to change their style when accompanying their two elders.
Making a great closing performance for a CD full of outstanding playing is a very rare version of ”Stuffy,” with Coleman and Roy, plus J.J. Johnson, Stan Getz, Oscar Peterson, Ray Brown, Herb Ellis and Jo Jones. |
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2002: Anthony Braxton & Taylor Ho Bynum - Duets (Wesleyan) 2002 |
Music » Jazz » Modern Jazz » Freejazz |
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 Artists: Anthony Braxton & Taylor Ho Bynum Album: Duets (Wesleyan) 2002 Label: Innova Recordings Year: 2002 Format, bitrate: FLAC Size: 201.5Mb AMG rating This disc, with the fine young cornetist Taylor Ho Bynum, is certainly one of Braxton's superior collaborations. If anyone, Bynum is a bit reminiscent of Leo Smith, but he brings along an arsenal of attacks and techniques that align him more with forward-looking brass players like Axel DÿÏÍrner and Greg Kelley. There are two Braxton compositions here, the prolific musician having passed the 300 mark in his personal catalog of pieces. Duets [Wesleyan] 2002 closes with another Braxton work, "Composition 305 (+ Language Improvisation, 44)," a fascinating piece making spare and spiky use of space with jagged lines and breathy flurries abutting each other. Bynum, perhaps wielding what's listed in the credits as the "trumpbone," is superb here, opening swathes of virgin territory for Braxton to saunter into. Even Braxton's biggest fans are often overwhelmed by the sheer volume of his recording and have difficulty deciding which ones are must-haves. This is definitely one to put on that list. ~ Brian Olewnick , All Music Guide |
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1923-1924:Jelly Roll Morton - Complete Edition Volume1 |
Music » Jazz » Traditional Jazz |
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 Artist: Jelly Roll Morton Album: Complete Edition Volume 1 (1923-24) Label: Média 7 (France)/Master of Jazz Years: 1991 Format, bitrate: Flac Time: 75'28'' Size: 249 Mb AMG Rating:   This is an original Demonoid post. I thank seeders and original uploader for that. Here are all of Jelly Roll's classic Gennett piano solos, including the only known alternate take of "New Orleans Joys," presented in the sequence in which they were recorded. The No Noise system used to clean these old 78s up does a decent enough job, considering when these sides were cut and their rarity. Also on tap are four more solo piano sides cut in Chicago in 1924, four band sides with various personnel, topped off with two piano/cornet duets with King Oliver. A large chunk of this man's genius in one very digestible package. ~ Cub Koda, All Music Guide |
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2007: Dexter Gordon / Ben Webster - Tenor Titans [DVD] |
Music video |
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![2007: Dexter Gordon / Ben Webster - Tenor Titans [DVD]](http://jazzbluesclub.com/uploads/posts/thumbs/1275640688_1022169.jpg) Artist: Dexter Gordon / Ben Webster Album: Tenor Titans [DVD] Label: Impro-Jazz Year: Dec 20, 1964,Mar 1969 Release: Jan 22, 2007 Format: DVDrip, AVI, MPEG-4 Video, MP3 Audio Time: 48min Size: 700MB For the first time on DVD!!! Two exceptional live concerts from the 1960’s : Dexter Gordon in Copenhagen 1969 and Ben Webster in London 1964. Dexter is featured in a quartet format backed by the great Kenny Drew on piano, the late Danish bassist NHOP and the relatively obscure South African drummer Makaya Ntshoko (Ben Webster is present and can be seen among the audience, in the Cafe Montmatre!).
Webster’s performance is also with a quartet - featuring the immaculate Stan Tracey on piano, bassist Rick Laird (who 7 years later was a founder member of The Mahavishnu Orchestra), and Jackie Dougan on drums. On ”A Night in Tunisia”, Ronnie Scott joins the group - after all, Tracey, Laird & Dougan were his then current quartet and the house trio at his club, although this date was at The Marquee.
Europe was always receptive to the genius of American jazzmen, many of whom returned the favour by making the Old Continent their permanent home or living there for extended periods of their lives. Such was the case of both Dexter Gordon, who lived in Europe from 1962 to 1976, and Ben Webster, who resided there from 1964 until his death in 1973. Both musicians were recorded prolifically during those years, and these filmed performances are perfect examples of the affection and admiration they generated. |
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1994: Cyrus Chestnut - Revelation |
Music » Jazz » BeBop » Post-bop |
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 Artist: Cyrus Chestnut Album: Revelation Label: Atlantic Jazz Records Year: 1993; release: 1994 Format, bitrate: Flac Time: 60 minutes Size: 320 mb On Revelation, Cyrus Chestnut offers 60 minutes of tasty, gospel- and blues-infused trio music. Both accessibility and virtuosity mark Chestnut's jazz playing, and his affinity for spirituals, hymns and down-home blues is evident in his emotional approach. He is fond of building momentum -- almost as if he were an evangelical preacher -- with repetitive and extended right-hand runs, and is most effective on the quicker, faster paced numbers. For this album, he is joined by Christopher J. Tomas (bass) and Clarence Penn (drums). The trio communicates well and swings hard. Nine of the 11 tracks on this, Chestnut's first release for Atlantic, are originals. Three of the album's best tracks are the bright, exciting "Elegie," the delicate solo vehicle, "Sweet Hour of Prayer" (backed only by Penn's brushes) and the pretty, original "Proverbial Lament." Many of the other tracks are played at faster tempos, none faster than "Macdaddy," on which he flexes his considerable chops. Revelation is a clean, enjoyable set led by a very promising young pianist.~ Brian Bartolini, All Music Guide |
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2008: Rob Brown Ensemble - Crown Trunk Root Funk |
Music » Jazz » Modern Jazz |
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 Artist: Rob Brown Ensemble Album: Crown Trunk Root Funk Label: AUM Fidelity Year: 2007; release: 2008 Format, bitrate: mp3, 320 Time: 59:21 Size: 79 mb After its successful premier at the 2006 Vision Festival, alto saxophonist Rob Brown took his newest ensemble into the studio to record Crown Trunk Root Funk, his first recording as a leader for AUM Fidelity. A formidable blend of funky abstraction, angular post-bop and dark impressionism, it offers an expansive view of Brown's adventurous aesthetic.
A two decade plus veteran of New York City's Downtown scene, Brown employs three of today's most in-demand sidemen in this quartet. Bandleader, composer and bassist William Parker shares a performing history with Brown dating back twenty years. Drummer Gerald Cleaver has been a regular collaborator of Brown's recently, while pianist Craig Taborn is relatively new to Brown's oeuvre, playing with him for the first time in 2006.
Brown's acerbic alto takes center stage over the course of these roiling, intensely rhythmic tunes, with Taborn's jagged cadences offering reliable support. Eschewing token traditionalism, Taborn avoids conventional comping, liberally unspooling brittle linear phrases under Brown's circuitous salvos, as on the thorny "Lifeboat." Working in tandem, Brown and Taborn meander through the shadowy "Ghost Dog," weaving through labyrinthine passages driven by a percolating groove and sinewy bass ostinato.
Longstanding partners, Taborn and Cleaver unveil their intuitive rapport on "Sonic Ecosystem," the album's sole electronic piece. Glitchy hums emanate from lo-fi electronics as Taborn accents undulating sine waves with pointillist piano phrases, while Cleaver quietly responds with scintillating tones. Sporadically interrupted by a plangent unison theme from Brown's plaintive alto and Parker's bowed bass, their conversation continues unabated.
Clocking countless studio hours together, Taborn, Parker and Cleaver are frequent rhythm section companions. Whether locking into the slow burn vamp of "Rocking Horse" or navigating shifting meters on the knotty post-bop of "Clearly Speaking," they demonstrate their affable interplay with fluid invention.
Eclipsing structural traditions, Brown spars with Cleaver on the first half of "Exuberance," discharging pithy, fragmentary spirals as Cleaver throttles his kit with unfettered abandon before the entire group reconvenes.
Despite the album's overall focus on rhythm, Brown reveals a soulful, impressionistic side on "World's Spinning," closing the record with stark, yearning lyricism.
With over a dozen albums to his credit, Crown Trunk Root Funk is one of Brown's most engaging.~ Troy Collins, All About Jazz |
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2007: Collard Greens & Gravy - Devil In The Woodpile |
Music » Blues |
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 Artist: Collard Greens & Gravy Album: Devil In The Woodpile Label: Black Market Music Released: 2007 Quality: mp3, CBR 320 Size: 110 MB Time: 43.40 Acclaimed for their gritty, driving, down home-home sound, Collard Greens and Gravy play a mostly original repertoire of foot stomping country blues that would sound right at home in a Mississippi Juke Joint. Ian Collard (Vocals ,Harmonica and Guitar) James Bridges ( Guitar and Fiddle), Anthony Shortte (Drums) have been together since 1995.
The trio have received many awards including second place at 2001ʼs International Blues challenge in Memphis, the same year the bands second C.D ”More Gravy”, won the Aria award for ”Best Blues and Roots Album”.
Their third C.D ”Silver Bird” won the ”Best Self-Produced CD” award at the International Blues Challenge (IBC) in February 2005.
Their latest C.D ”Devil In The Woodpile” has won numerous awards including best C.D and best band at both the Australian and Vic/Tas blues awards in 2008/ 2009.
They have won the Melbourne blues appreciation society "Blues Performer of the Year" award twice, once in 2000 and again last year in 2008. ~ band web site info |
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2000: Enrico Pieranunzi - Improvised Forms For Trio |
Music » Jazz » BeBop » Post-bop |
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 Artist: Enrico Pieranunzi Album: Improvised Forms For Trio Label: Challenge Records Year: Feb 2, 2000-Feb 5, 2000 Format, bitrate: mp3, 320kb/s Time: 50:07 Size: 106MB The Enrico Pieranunzi Trio gives us his beautiful compositions
in a broad-sounding setting with breathtaking improvisations!
Italian Pianist Enrico Pieranunzi (b. 1949) has built a distinctive, lyrical style from post-bop options opened up by McCoy Tyner, Herbie Hancock, Martial Solal, Paul Bley, and others, polished yet never slick, eclectic but not scattered.
With his own trio or the Space Jazz Trio, Pieranunzi co-loads with bassist Enzo Pietropaoli, he frequently accompanied artists including Chet Baker and Lee Konitz as they pass through Italy.
Pieranunzi's recording resume includes those greats as well as Enrico Rava and Phil Woods, and he has also worked with Art Farmer, Benny Bailey, John Griffin, Kenny Clarke, Art Taylor and Jim Hall. The classical structure in his music is no surprise considering he frequently is in concert with chamber music groups and is a full professor of piano at the Frosinone Conservatory of Music in Rome.
Pieranunzi began leading his own groups in 1975, playing the leading jazz festivals and winning a number of awards. ~ Challenge Records |
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1984: Carol Kidd - Carol Kidd - Aloi AKH 003 |
Music » Jazz » Vocal Jazz |
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 Artist: Carol Kidd Album: Carol Kidd Label: Aloi AKH 003 (UK) (1959) Year: 1984 Quality: FLAC (LP rip) Size: 195 MB Time: 44:10 Recorded in 1984, this title features standards such as The More I See You and We'll Be Together Again, plus a witty Mel Torme arrangement of I Like To Recognise The Tune. Carol is supported by her excellent trio, whose long-standing collaboration ensures sensitive and instinctive performances.
Her best known admirers include Frank Sinatra, who personally invited her to open for him at his Scottish shows, and Tony Bennett who, following a live performance, enthused to Carol: "Where have you been?! You should be world famous!"
Carol Kidd's debut album confirmed her status as a leading jazz singer of modern times and marked the beginning of a career spanning three decades. Carol remains a popular performer in the UK and worldwide, performing sell-out concerts in Jakarta, Bali, Singapore and most recently China in 2007. She was a particular favourite of the late Ronnie Scott. In recent years jazz legends such as George Chisholm, Buck Clayton, Eddie Thomson, Humphrey Lyttelton, Cliff Hardie, Bob Brookmeyer and Martin Taylor have been pleased to work alongside and enthuse about Carol's singing. ~ Murray Smith |
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1990: Garry Bartz - There Goes The Neighborhood |
Music » Jazz » BeBop » Post-bop |
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 Artist: Garry Bartz Album: There Goes The Neighborhood Label: Candid Year: 1990; release: 1991 Format, bitrate: Flac Time: 69:35 Minutes Size: 419 mb AMG rating This CD is a living document of the musicianship of Gary Bartz who continues to be one of the most articulate and arresting saxophone voices. The title of the album has special significance for the alto saxophonist. He wanted to make a statement not mere
Although he dismissed notions about a comeback, this '90 album was the triumphant, exuberant vehicle Gary Bartz hadn't made in quite a while. His rippling solos and dominant presence were welcome for fans who wondered if he had squandered the potential he'd shown in the '60s. ~ Ron Wynn, All Music Guide |
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